2008.48.2: #2, from Five Aquatints with Drypoint
Prints
This object does not yet have a description.
Identification and Creation
- Object Number
- 2008.48.2
- People
-
Richard Diebenkorn, American (Portland, OR 1922 - 1993 Berkeley, CA)
Crown Point Press
Lilah Toland, American
- Title
- #2, from Five Aquatints with Drypoint
- Classification
- Prints
- Work Type
- Date
- 1978
- Culture
- American
- Persistent Link
- https://hvrd.art/o/6111
Physical Descriptions
- Medium
- Lift ground aquatint and drypoint on white wove paper
- Technique
- Aquatint
- Dimensions
-
plate: 27.6 x 19.9 cm (10 7/8 x 7 13/16 in.)
sheet: 47.8 x 33 cm (18 13/16 x 13 in.) - Inscriptions and Marks
-
- Signed: lower right in graphite pencil: RD 78
- inscription: lower margin, graphite pencil, signed, in artist's hand: 28/35 #2 RD 78
- chop: lower right corner, compression: Crown Point Press / Lilah Toland
State, Edition, Standard Reference Number
- Edition
- 28/35
Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift of Ann B. Goodman
- Accession Year
- 2008
- Object Number
- 2008.48.2
- Division
- Modern and Contemporary Art
- Contact
- am_moderncontemporary@harvard.edu
- Permissions
-
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Descriptions
- Commentary
- The four prints (2008.48.1-4) are from Diebenkorn's 1978 portfolio Five Aquatints with Drypoint, published by Crown Point Press. Diebenkorn began sporadically making prints in the early 60s, often turning to printmaking during breaks from painting, and became the first artist published by Crown Point Press. Beginning with his 1977 portfolio of nine prints and continuing in this 1978 portfolio one sees Diebenkorn's movement away from representation to an interest in more formal, abstract compositions in his prints. They are experimental in nature (Diebenkorn often reworked the plates by scraping, burnishing, and adding drypoint lines), and show an exploration of planar and linear relationships, textural variety of linear marks, and contrasts of tonal values. Numbered in the order in which they were made, each print in this group can be viewed singularly. However, they become even more powerful when studied as a series, as a relationship from one composition to the next becomes evident.
Related Works
Verification Level
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu